The Good Mother: A tense psychological thriller with a shocking twist
The Good Mother: A tense psychological thriller with a shocking twist
A. L. Bird
‘Oh. My. Word. This is a one sitting read kind of book. The kind with a twist that will have you gasping out loud.’ – Katherine Sunderland, BibliomaniacThe greatest bond. The darkest betrayal.Susan wakes up alone in a room she doesn’t recognise, with no memory of how she got there. She only knows that she is trapped, and her daughter is missing.The relief that engulfs her when she hears her daughter’s voice through the wall is quickly replaced by fear.The person who has imprisoned her has her daughter, too.Devising a plan to keep her daughter safe, Susan begins to get closer to her unknown captor. And suddenly, she realises that she has met him before.The Good Mother is a dark and disturbing psychological thriller for fans of C L Taylor, Kathryn Croft and S K Tremayne.Read what people are saying about The Good Mother‘if you like psychological thrillers this one will keep you guessing till the end’ – Elaine Makri, Goodreads‘5*: gripping from beginning to end’ – Shirley Jones, Goodreads‘Nothing in this story is quite what it appears’ – Rosemary Smith, Goodreads‘From the start this was chilling and made my heart beat extra fast. A psychological thriller with lots of tension…Could not put it down! No spoilers but highly recommend it. 5*****’ – Laurel Cherkas, Goodreads‘Not much keeps me awake until 2am, but my goodness, this brilliant psychological thriller did just that!’ – Philippa McKenna, Goodreads‘I loved this book…I couldn't read it fast enough.A real page turner’ – Aarti Shah, Goodreads‘So cleverly written that I had no inkling as to how the tale would unfold.’ – Melanie Hughes, Goodreads‘Lots of twists and turns and shocks along the way and the ending packs a real punch!’ ‘ Fiona McCormick, Goodreads
The greatest bond. The darkest betrayal.
Susan wakes up alone in a room she doesn’t recognise, with no memory of how she got there. She only knows that she is trapped, and her daughter is missing.
The relief that engulfs her when she hears her daughter’s voice through the wall is quickly replaced by fear.
Because the person who has imprisoned her has her daughter, too.
Devising a plan to keep her daughter safe, Susan begins to get closer to her unknown captor. And suddenly, she realises that she has met him before.
The Good Mother
A. L. Bird
Copyright (#ulink_0ac53238-7b1d-5415-9279-d8ce2f088ae4)
HQ
An imprint of HarperCollinsPublishers Ltd.
1 London Bridge Street
London SE1 9GF
First published in Great Britain by HQ in 2016
Copyright © A. L. Bird 2016
A. L. Bird asserts the moral right to be identified as the author of this work.
A catalogue record for this book is available from the British Library.
This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.
E-book Edition © June 2016 ISBN: 9781474049566
Version date: 2018-09-20
A.L. BIRD
lives in London, where she divides her time between writing and working as a lawyer. The Good Mother is her major psychological thriller for HQ Digital, the fourth novel she’s written for the imprint. She has an MA in Creative Writing from Birkbeck, University of London, and is also an alumna of the Faber Academy ‘Writing a Novel’ course, which she studied under Richard Skinner. Amy is a member of the Crime Writers’Association. For updates on her writing follow her on Twitter, @ALBirdWriter
I am grateful to everyone who has given me the time, support and encouragement to write this novel. My wonderful editor Clio Cornish, who knows what I’m trying to write even before I’ve written it; my super-savvy agent Amanda Preston of LBA for her off-the-cuff creative brilliance and industry insight; my loyal family for the hours of childcare that enabled me to be closeted away in this new world; to Dr Abigail Crutchlow for her advice on characters (any straying from psychological truth is due to my artistic licence, not your input) and of course my readers, for coming back for more. Thank you.
And to my little one – welcome. May I be the best mother to you, always.
Contents
Cover (#u64ad3082-5b89-5a33-9125-b6c5838ad4ad)
Blurb (#u28a57408-3fe5-5b44-b3cb-a150993be522)
Title Page (#uea1ca237-a5e7-5436-a8a3-c9ea7820494f)
Copyright (#u03a88ec7-26fe-5cf9-9a39-dc724e63891c)
Author Bio (#u7a7a2862-d076-59d0-94f5-b599088815c9)
Acknowledgement (#u3705efad-af31-5ed4-9cae-1b89315a14c9)
Dedication (#u1c78e4ad-e279-543a-b833-772ea6264d30)
Prologue (#ulink_89a99db6-0360-56c6-a5f1-1e1c2eb047a3)
Chapter 1 (#ulink_b19bec36-dd76-5024-a068-55b7ed3fb099)
Chapter 2 (#ulink_882a8558-be54-50c3-b051-4c4dacb12d0d)
Chapter 3 (#ulink_32a558e2-389a-5bf1-bc98-4a45033ec25e)
Chapter 4 (#ulink_c57b1fb7-c50b-5267-938c-3ba03c46fd86)
Chapter 5 (#ulink_fe388479-f232-56e5-9ea8-812655983fab)
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20
Chapter 21
Chapter 22
Chapter 23
Chapter 24
Chapter 25
Chapter 26
Chapter 27
Chapter 28
Chapter 29
Chapter 30
Chapter 31
Chapter 32
Chapter 33
Chapter 34
Chapter 35
Chapter 36
Chapter 37
Chapter 38
Chapter 39
Chapter 40
Chapter 41
Chapter 42
Chapter 43
Chapter 44
Chapter 45
Chapter 46
Chapter 47
Chapter 48
Chapter 49
Chapter 50
Chapter 51
Chapter 52
Chapter 53
Chapter 54
Chapter 55
Chapter 56
Chapter 57
Chapter 58
Chapter 59
Chapter 60
Chapter 61
Chapter 62
Chapter 63
Chapter 64
Chapter 65
Chapter 66
Chapter 67
Chapter 68
Chapter 69
Endpages (#u8d9e0a47-3b0f-593e-ad35-696d03f8b8ac)
About the Publisher (#u78cbe274-90ff-54b7-856f-217988c930e8)
Prologue (#ulink_6e9ae0a0-857f-5c05-a8eb-81e79222d581)
The girl gets into the car that’s waiting for her. She looks over her shoulder first, like he’s told her to, to check Mummy isn’t watching. Would Mummy really mind? She can’t be sure. But he seems to think so. And he knows best, right? So she does the covert glance then slings her school bag into the back seat, like all the other times. He holds his cheek towards her for a kiss, which she dutifully bestows. Then he starts the engine with a vroom. Familiar buildings pass by. Buses on their way to places she recognises: Muswell Hill Broadway; Barnet (The Spires); North Finchley. There are a couple of kids from school. She raises her hand to wave but the man, seeing her, says, ‘Best not.’ So she lowers her hand and plays with the hem of her skirt, gazing absently out of the window.
Gradually, the territory becomes less familiar. The other man, the man they are going to meet, always insists on meeting outside of her home area. Says it’s safer that way. She hopes he’ll buy her a hot chocolate again. That was nice. Lots of whipped cream. Mummy always says whipped cream is bad: ‘You’ll end up big-boned. No one wants to be big-boned.’ The girl commented that the women at Mummy’s cupcake studio don’t seem big-boned. And they have lots of cream. ‘That’s because they spend a lot of time in the bathroom after each session,’ Mummy explained. That didn’t make much sense. But still, after the last visit, she hung round in the bathroom for a good ten minutes, so that the cream didn’t invade her bones and make them puff up.
And if there is hot chocolate, the girl thinks, it will be something to keep me busy. Because there’s not a lot of talking on these trips, so far. The other man doesn’t seem to know what to say. He looks at her a lot. Taking her in, from top to toe. She can feel his gaze travel down then up, up then down. Sometimes he gives a little smile. Other times a frown. She wants to please him, of course. She wants to please everyone. But when she tells him about the usual stuff – school, Mummy, music, boys even – he doesn’t say much back. And the two men glare at each other whenever they’re not looking at her. She can’t figure out why they keep hanging around together. Or what they want her to do on these occasions. So perhaps better just to concentrate on pushing the little wooden stirrer stick up and down in the hot chocolate to make holes, revealing the hot chocolate below. You have to get it to just the right meltiness to drink it. Then it’s delicious. She licks her lips in anticipation. Last time, the other man, the man they’re going to visit, looked like he was anticipating hot chocolate the whole time. Kept licking his lips. If he wanted some of her drink, he should just have said.
This might be the last time at this place, though. Because the previous time the other man, the man they’re going to see, had suggested they meet at his home. More relaxing. They could learn more about each other. He’d even given directions.
‘I just want us to be close, Cara,’ he’d said. ‘You’ll be quite safe. You’ll have your chaperone there throughout.’ He said ‘chaperone’ in a funny way. Like he was making a joke. Perhaps he only used that word because he didn’t know what to call the man who brought her. She didn’t, either, not really. Not once they’d had the little chat that evening in the car, his hand on her knee. Everything changed after that. She couldn’t be herself around him, couldn’t think of anything to say to him at all, never mind his name. She’d settled into the pattern after a while. But it was still odd. Of course it was odd. She would have asked Mummy. If Mummy were allowed to know.
Anyway, whatever he was called, the chaperon didn’t seem to like the idea of going to the other man’s home. So here they were, driving fast to the usual café. A bit faster than usual, maybe? Were they late? She looks at her watch, then realises she doesn’t know what time they’re meant to be there. And she doesn’t really know where ‘there’ is.
So there is nothing to do but sink into the seat. It’s out of her hands. But she’s perfectly safe. Of course she is. It would be like all the other times. See the men. Then go home to Mummy. She looks across at the chaperone to smile, to show him she still trusts him after everything. But he doesn’t smile back. He looks ahead and he frowns.
Chapter 1 (#ulink_d422c98a-f5e6-582b-93d8-a4ff86c63051)
My eyes flash open.
There’s a bed, a room and a blankness.
I leap off the bed, a strange bed, a single bed, and collapse straight onto the floor.
Where am I? What’s going on? Why am I so weak?
I put my hands over my eyes. Remove my hands again. But nothing becomes right. I’ve still no idea where I am. Why am I in this alien room? In pyjamas? Is it day, is it night, how long have I been here?
And, oh God.
Where’s Cara? Where’s my daughter?
Look round the room again. It looms and distorts weirdly before me. I don’t trust my eyes.
I try to pull myself to my feet but black spots and nausea get in the way.
OK, Susan. Stop trembling. Try to remember.
A hallway. At home. The doorbell ringing. Delivery expected. Chain not on.
Going to answer the door.
Yes, that’s it. A door. I see a door now, in this room. Maybe Cara is on the other side?
Crawl over the floor. One hand in front of the other. Grunt with the effort. Feel like I’m Cara when she was learning. Past a tray of partially eaten food. White fish. The smell makes me want to vomit.
Approach the door, in this room. Lean my hands against it, inch them higher and higher, climbing with my hands. Finally at the handle. Pull and pull. Handle up, handle down. Please! Open!
Nothing. It stays firmly shut.
In my mind, in my memories, the front door of my house opens. I’ve answered the door. Then blackness, blankness. Nothing but: Cara, my Cara, I must see Cara!
I’m shouting it now, out loud. Screaming it. Black dots back again before my eyes.
Come on. Comprehend. Don’t panic.
Slide down from the door. Look around the room. It’s clean, too clean, apart from the half-eaten fish. White walls. A pine chest of drawers. Potpourri on a dresser. Beige carpets. All normal. My hands ball in and out of fists. It is not normal to me.
And you are not here.
But why, Susan, why would she be here? Was she even at home when that doorbell rang? She’s fifteen, why would she be there, at home, with Mum? She might be safe, somewhere else, happy, even now.
I shake my head. Wrong. It feels wrong. I need to know where you are. Something is telling me, the deep-rooted maternal instinct, that you’re not safe. I need to see you.
Footsteps! From the other side of the door.
A key in the lock. I watch the handle turn. Slowly, the door pushes open.
Him.
How could I have forgotten about him?
We face each other, him standing, me on the floor. Bile rises in my throat.
So.
This is the now-known stranger who has locked me in here. Wherever ‘here’ is. It’s been what – two … three days? He must have drugged the fish. That’s why it took me a while, for any recollection to return.
He’s holding a beaker of water.
‘Thought you might like something to drink, Susan.’
He knows my name. A researched, not random, snatching then. Watching, from afar? For how long?
I stare at him.
‘Where is she?’ I manage. Not my usual voice. My throat is dry. The words are cracked, splitting each syllable in two.
‘You mustn’t hate me, Susan,’ he says.
I wait for more. Some explanation. Nothing.
Could I jump him? Could I run past him, out of the door? I must try, mustn’t I? Even if there is no ‘past him’. He fills the whole doorway.
Stop thinking. Act! Forget the shaking legs. Go, go, go! Storm him, surprise him!
But he is too quick. He slips out. The door closes. The lock turns.
‘They’ll come looking!’ I shout, slamming my hands against the door.
Because they will, won’t they? Paul, even now, must be working with the police, following up trails, looking at traffic cameras, talking to witnesses. Find my wife, he’ll be shouting to anyone who’ll listen. Neighbours, dog-walkers, Mrs Smith from number thirty-nine with that blessed curtain twitching. My afternoon clients, they must have raised the alarm, when I wasn’t there. Right? I must be a missing person by now. Please, whoever has lost me, come and find me.
And, please, let Cara be with you. Let my daughter be safe.
Images of Cara frightened, hunched, bound, dying.
No!
Just focus. Look at the room. How to get out of the room.
Look, a window! High up, narrow, darkness beyond it, but possible maybe?
There’s a kind of ledge. I can pull myself up. Hands over the edge, like that, then come on – jump up, then hang on. Manage to stay there for a moment, before my weak arms fail me. Long enough to judge the window isn’t glass. It’s PCV. Unsmashable. And, of course, there is a window lock. And no key. Locked, I bet, but if I just stretch a hand – but no. I fall.
OK, so I need to put something under the window. That chair. Heavy. I push and pull it to under the window. Placing my hands on the back of the chair, I climb up onto the seat. With my new height, I stretch my arm to the window, then to the window latch.
Locked.
Still. A window is a window. People can see in, as well as out. When it’s day again, I can wave, mouth a distress signal.
So do I sit and wait in the dark until morning? Until I can see the light again?
Or does this man, this man out there, have night-time plans for me? Because you don’t just kidnap a woman and leave her in a room. You want to look at her, presumably, your toy, your little caged bird. Maybe he’s looking at me even now. A camera, somewhere? I draw my legs up close to me and hug them. I stare at the ceiling, every corner. No. No. No. No. I can’t see one.
Which means he must have another agenda.
I shudder.
Think of Cara. Be strong. What’s your best memory of Cara? Proudest mummy moment?
Apart from every morning when I see that beautiful face. I will have that moment again. I will. Just as I’ve had that moment every day since I first held you.
Little baby girl wrapped in a blanket. So precious. Be safe, be warm, always.
But apart from that.
The concert!
Yes, the concert.
All the mums and dads and siblings and assorted hangers-on filing into the school hall. The stage set up ready, music stands, empty chairs. Hustle, bustle, glasses of wine. Me chatting to Alice’s mum – Paul working late – about nothing and everything. Then, the gradual hush of anticipation spreads round the room. The lights dim. On comes the orchestra! And there’s Cara. Her beautiful blonde hair hanging loose, masking her face. She’ll tuck it behind her ear in a minute, I think. And she does. Then the whole audience can see that lovely rose tint to her cheeks, the lips so perfectly cherub-bowed to play the flute that she holds. I want to stand up and say, ‘that’s my daughter!’ Instead I just nudge Alice’s mum and we have a grin. Then there’s the customary fuss and flap as the kids take their seats. All trying to look professional, but someone drops their music, and someone else plucks a stray string of a violin. Not Cara, though. She is sitting straight, flicking stray glances out to the crowd, holding the flute tight on her lap. Come on, Cara, I say to her in my head. Just do it like you’ve practised. All those nights at home, performing to me sometimes so that you have an ‘audience’. You’ll be fine.
And she is fine. When the orchestra starts to play, it’s like she has a solo. You can see the musicianship. All nervousness gone. Head bobbing and darting, fingers flying, like a true flautist. No pretention. Just perfection. Then her actual solo. The flute shining out, beautiful, clear. Wonderful phrasing, beautiful passion. Then she’s frowning slightly – was that a wrong note? Just keep on, keep on, no one will notice. And she does, she keeps going, right to the end.
But what makes me proudest, happiest, is, when her solo is over, she has this magnificent pinky-red flush over the whole of her face, and she gives this quick smile of sheer joy at her accomplishment, a brief look into the audience, before she bows her head and gets back to playing with the rest of the orchestra. Oh, my beautiful bold-shy Cara. How I adore you!
And then.
The memory is spent.
I’m just here again.
In silence.
Waiting.
Alone.
Hoping, praying, that my daughter is safe.
Chapter 2 (#ulink_2b36c435-37da-5504-89ca-9235ef19ce9d)
The headmistress of Cara’s school is occupied with a small handful of girls she has brought together in her study. They’re sitting on chairs in a semicircle surrounding her desk, sipping the tea that she’s given them. Patterned china cups usually reserved for the governors are balanced precariously on saucers. The girls are too busy to worry if they are spilling their tea. Their attention is focused on the man next to the headmistress. He’s a rarity in a school that only has two male teachers. And neither of them have beards. Or wear leather jackets and open-necked shirts. It’s clean-shaven and smart suits or the door for Mrs Cavendish’s staff.
‘Who do you think he is?’ whispers one girl, skinny, ginger, to her companion, slightly rounder, brunette.
Her companion shrugs. ‘New teacher? A friend for Mr Adams and Mr Wilson?’
The skinny ginger girl shakes her head. ‘I don’t think so. I think it’s about Cara.’
‘Everything’s about Cara,’ whispers back the brunette, rolling her eyes.
And it is true. The police cordons. The letters home to parents. The visit from a special psychiatrist. The thoughts, the prayers they have been asked to give her and her family in her conspicuous absence. The anxiety they have shared.
The headmistress clears her throat.
‘Girls, thank you for coming,’ she says, as though there is a choice to disobey the headmistress’s edict. ‘As you will have guessed, this is about Cara.’
The brunette shoots a ‘see what I mean?’ glance at her ginger friend.
‘I’ve asked you bunch here in particular because of your friendship with Cara. I know you must be very upset right now. You’re doing really well. I’m proud of you.’
There’s a sniff from a blonde girl at the outer reaches of the semicircle. The headmistress advances to her and puts a hand on her shoulder.
‘I don’t want to upset you by going through the details again. We’ve all heard what the police had to say, and of course it’s been all over the news. But we’ve been asked to help a little more.’
The headmistress resumes her seat at the head of the semicircle.
‘I’d like to introduce you to Mr Belvoir, a private investigator,’ she tells the girls. ‘He wants—well, Mr Belvoir, why don’t you explain?’
‘Thank you,’ the man says. He stands up. Then, perhaps realising he towers over the girls, he sits down again.
‘Sometimes, when the police are looking at these things, their approach can be … limited. Now, I’m not doing them down, it’s a bit delicate, but … well, I explained to your headmistress that I’ve got a private instruction to look at what’s happened. Cara’s family, you know. Got to ask my own questions. Make discreet enquiries, with close friends. I hope that’s OK with you?’
Five heads bob in the room. The ginger head doesn’t bob.
‘Alice?’ prompts the headmistress.
After a moment, Alice, the ginger girl, nods her head.
But she excuses herself almost immediately. He must ask his questions later, she says. She has English homework to do, she says. But, as she runs from the room, ignoring the headmistress’s calls that the homework can wait, it’s not thoughts of poetry composition that are spurring her on. It’s the thought – or maybe the question – about secrets. Namely this: if your friend – your best friend, who’s been your best friend since day one of reception – tells you something and makes you swear in confidence never ever to tell anyone, do you tell a man who is investigating something bad that’s happened to that friend? When that man, after all, isn’t even the police? And if it isn’t even directly relevant? Or is it? Cara told her a secret and then—Oh Cara.
So Alice doesn’t know what she should do. Cara would know what to do. She would just decide and have done with it. Impulsive and bold, that’s Cara. Perhaps that’s the problem. But Cara isn’t here. Another problem. So, for once, Alice has to make up her own mind. The school hasn’t prepared her for this sort of dilemma. Why don’t they teach anything useful once in a while? Everyone knows it’s friendships that count. Not books and sums and facts.
But she’s stuck with those. And she’ll just have to use them. And so she runs to the library, where she hides behind her textbooks. And until she has decided, she will avoid this Mr Belvoir. Even though she knows what she knows.
Chapter 3 (#ulink_e7689e75-d101-5b55-b72c-509da6bc3e96)
Biting my nails. Putting my head in my hands. Walking about. Sitting down.
I can’t do this.
I jump to my feet.
I shout. ‘Let me out! Let me out! Let me out!’
Why am I here? Why aren’t you at least in the room with me? He can’t be scared of a woman and a girl uniting, can he? Not with all that muscle.
Do I just fuck him and hope for the best? That he’ll let me out without killing me, and we can all be a happy family again?
Or am I meant to just stay in here and finish that piece of fish? Is he fattening me up? Does he have a fat fetish? Did he think that the proprietor of a cupcake store and studio would be all doughy? That she wouldn’t be a salad-eating Pilates junky who would have to close the store if she put on a pound? Because the yummy mummies of leafy North London don’t want to associate cupcakes with saturated fats and weight gain, do they? That’s not the lifestyle. No. Perhaps they’re bulimic. I don’t care. That’s not my lookout. It’s important to watch what you eat. Of course. But not for their reasons. So, when I see them running round Alexandra Park, I nod and smile and remind them of the ‘how to do deluxe frosting’ session but I don’t follow them when they go to the bathroom.
Which is a good point. Bathroom.
I bang the door of my room from the inside. I have a question. Or at least, a ruse to bring that bastard in here.
I keep banging until I hear footsteps along the corridor.
‘Yes?’ says the Captor from outside.
‘What if I need to pee?’ I ask.
There’s a silence.
‘Do you?’ he says.
I don’t, but I want to know what happens if I do. If it gives me a way out. Some hope of escape. Or at least seeing if Cara is out there.
‘Really badly,’ I say.
There’s a pause, then a key in the lock. I expect to be handed a bucket when the door opens.
But no. He is empty-handed.
‘Turn round,’ he says.
I do as he asks.
Once I’ve turned, he takes hold of both of my arms from behind, clamps them together with one of his paw-like hands. I feel like my wrists will snap if I struggle.
He twists me round and pulls me out of the room.
We’re in a short corridor. Look about, quickly. Nothing I recognise. It’s as blank and beige as the room. Like it’s been deliberately stripped. Or like he has no life at all, apart from ruining other people’s. We pass one closed door next to mine. My stomach jumps closer to my heart. Cara? Is Cara in there?
Baby in one room, mummy in the other. Let me see her, I need to see her!
‘Hello? Cara?’
He pulls me faster along the corridor. We stop in front of an open door. I see a toilet and bath and a shower enclosure in the corner. White tiling. Clean. Probably forensically bleached before and after each visit.
He pushes me into the room.
And follows me.
What have I done?
‘There we go, then,’ he says, nodding at the toilet. He releases me from the arm hold and nudges me towards the toilet. He stands at the door, arms folded, facing into the room. Like he has no intention of leaving.
‘Are you going to give me some privacy?’ I ask.
He shakes his head. Apologetically?
‘The door doesn’t have a lock,’ he says.
‘You’re going to stand here watching me?’
He doesn’t respond.
‘You could at least turn your back,’ I tell him. Then I could at least try to jump you, I think, even if it is with my trousers round my ankles.
He still doesn’t say anything. Just keeps looking at me.
So. I’ll have to carry on. But I’m not going to let him degrade me. I’m not going to let him see how vulnerable I feel as I pull down my pyjama shorts. I’m not going to let him know how my flesh creeps, how my insides clench and my legs tremble. I keep eye contact as I lower myself to the seat. I expect his gaze to drift downwards, to drink me in while I urinate. But he keeps his gaze level with my eyes. I make a show of squatting up fully to wipe myself. Still his gaze stays at my eyes. At first. And then he allows himself a quick flick down, towards my exposed parts. I pull up my shorts in a hurry.
I move to the sink to wash my hands. I struggle with the taps; my hands are shaking. The Captor helps me out.
‘Careful,’ he says. ‘The water is very hot.’
As he leans in, I catch sight of the two of us in the mirror over the sink. I almost gasp. I’m not who I remember myself to be. My eyes have purple patches under them – tiredness beyond black circles. Or maybe he has punched me? My skin is so pale it is almost translucent. My lips are dry and cracked. My hair, unbrushed, but in a ponytail, sticks up wildly. And if I thought he was twice the size of me, I was wrong. He looks at least four times the size of me. And about four times as human – pink skin (neatly stubbled), hair combed, lips moist.
Steam covers the mirror and the comparison is lost.
I notice my hands are burning and I pull them out from under the tap.
Then I present my wrists meekly to the Captor. He takes hold of them and escorts me back to my room.
When he leaves I’m sick on the floor.
I try not to think what will happen when I need to shower.
When Cara needs to shower. If she’s here.
All I want to do is hide in the bed in a foetal position. But I must be strong, for Cara. I must show him that it’s not enough to leave me locked in here. Like I’ve had my bit of outside and now I’m stuck.
So I take a big breath and unleash the banshee. I cry and I scream and I shout. Maybe we are in the middle of a housing estate. Maybe I’ll alert the neighbours.
The door opens before I even hear the key in the lock.
‘What’s wrong now?’ he asks.
What’s wrong? I want to shout back. What’s wrong? You’ve fucking kidnapped me, that’s what’s wrong. And done something, maybe, I don’t know, to my daughter. But I carry on with the wordless screaming. He moves towards me, closer and closer and closer, until—ow!
Stinging, on my cheek.
He’s slapped me.
So I scream again. Louder.
He slaps me again, harder.
It brings tears to my eyes.
And there’s a wet glittering in his.
‘I didn’t bring you here for this,’ he says. There’s a crack in his voice.
‘Then why did you bring me here?’ I hear my voice, high, wavering.
He shakes his head and moves back towards the door. I start screaming again.
He turns to me. This time his hand is in a fist. I flinch. He lowers his hand. But the warning is clear. No screaming. I lie down on the bed and face the wall. I can sense him standing there, watching me.
Eventually, I hear the door close. He’s gone.
I fling myself over on the bed so that I’m facing the door that he’s just exited.
Who is this man? I swear I hadn’t seen him before I was abducted. What does he want? Can’t he just tell me everything, like some kind of super villain confessing his evil plans? At least tell me he’s got his cock out every night at the thought of me but he’s just biding his time; tell me we had a chance encounter in a newsagent/ restaurant/ supermarket; tell me he has my daughter strapped inside a wheelie bin somewhere ready to be landfill unless I have sex with him. Just don’t leave me here, not knowing.
I need to know what’s happening. Why is no one telling me what’s happening to my baby?
I need Cara. I need Paul. I need a hug, some tea, some air, some knowledge, some hope. I just need. Give me something. Please.
Chapter 4 (#ulink_2615f9e4-c5f4-5b0f-bd49-ca972c51faba)
The other side of the door
I could just have let her scream. Of course I could. I’m prepared. Tough love, isn’t it called? I’ve experience of that. I’ve hardened myself for more. Had to. Grit your teeth, get on with it, think of the greater purpose. The purpose she’ll realise in due course. Once that natural obsession with her daughter has abated. Of course, she wants to know. And maybe I should tell her. But not now. Not yet. Little by little we’ll get there. Together. That’s the important bit. We’ll always be together. I’ve succeeded in that much. However difficult it might be, treating a woman like that when all you want to do is hug her and kiss her and … all the rest. The groundwork is done. We’re together. Now I just need to carry on. Day in, day out, as long as it takes.
Oh, she’s resisting. Of course she is. Wants to be in and out of that room like a jack-in-the-box. And it bothers me. Of course it bothers me. In an ideal world, she’d take one look at me, one morning, and she’d love me like I know she can. She’d thank me for the delicious fish supper. Thank me for the warm bedding. Thank me for taking care of her. But it’s not an ideal world. Don’t we know it. All of us, under this roof.
So until that happens, she’s got to stay there. Locked in that room. And sometimes I may need to use force. Judge me, you up there, if you want to. But just like you have your plans and work in mysterious ways, so do I. I didn’t like slapping her. Of course I didn’t. Yes, there was an element of me that liked the touch of her skin. So soft. English rose. Just like Cara. You want to caress skin like that, not hurt it. Needs must though. Even if she was more stunned than hurt. She’ll forgive me in the end. She has to.
Slapping her, stopping her screaming, was the right thing to do. Selfish, partly. We need to communicate. We need to have a dialogue, even if for now it’s full of hate from her. And I want to be able to hear her voice. Not just gaze at her from afar. If she’s hoarse, we can’t do that, can we? I’ve thought so much about her speaking to me nicely, silkily, calling me by name, that I don’t want to ruin my chances by making her croak.
And there’s the noise, of course. Screaming. I think we’re safe. But I’m not big on attracting attention. Not now.
Of course, if she won’t communicate as she should, however long she’s in there, I’ll need to come up with another plan. Perhaps I’ll need to force her to understand. Something with more impact. Pierce that little bubble she thinks she can hide in, away from me, for ever. But for now I have to continue with what I’ve started. A new phase of life for us all.
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A. L. Bird
‘Oh. My. Word. This is a one sitting read kind of book. The kind with a twist that will have you gasping out loud.’ – Katherine Sunderland, BibliomaniacThe greatest bond. The darkest betrayal.Susan wakes up alone in a room she doesn’t recognise, with no memory of how she got there. She only knows that she is trapped, and her daughter is missing.The relief that engulfs her when she hears her daughter’s voice through the wall is quickly replaced by fear.The person who has imprisoned her has her daughter, too.Devising a plan to keep her daughter safe, Susan begins to get closer to her unknown captor. And suddenly, she realises that she has met him before.The Good Mother is a dark and disturbing psychological thriller for fans of C L Taylor, Kathryn Croft and S K Tremayne.Read what people are saying about The Good Mother‘if you like psychological thrillers this one will keep you guessing till the end’ – Elaine Makri, Goodreads‘5*: gripping from beginning to end’ – Shirley Jones, Goodreads‘Nothing in this story is quite what it appears’ – Rosemary Smith, Goodreads‘From the start this was chilling and made my heart beat extra fast. A psychological thriller with lots of tension…Could not put it down! No spoilers but highly recommend it. 5*****’ – Laurel Cherkas, Goodreads‘Not much keeps me awake until 2am, but my goodness, this brilliant psychological thriller did just that!’ – Philippa McKenna, Goodreads‘I loved this book…I couldn't read it fast enough.A real page turner’ – Aarti Shah, Goodreads‘So cleverly written that I had no inkling as to how the tale would unfold.’ – Melanie Hughes, Goodreads‘Lots of twists and turns and shocks along the way and the ending packs a real punch!’ ‘ Fiona McCormick, Goodreads
The greatest bond. The darkest betrayal.
Susan wakes up alone in a room she doesn’t recognise, with no memory of how she got there. She only knows that she is trapped, and her daughter is missing.
The relief that engulfs her when she hears her daughter’s voice through the wall is quickly replaced by fear.
Because the person who has imprisoned her has her daughter, too.
Devising a plan to keep her daughter safe, Susan begins to get closer to her unknown captor. And suddenly, she realises that she has met him before.
The Good Mother
A. L. Bird
Copyright (#ulink_0ac53238-7b1d-5415-9279-d8ce2f088ae4)
HQ
An imprint of HarperCollinsPublishers Ltd.
1 London Bridge Street
London SE1 9GF
First published in Great Britain by HQ in 2016
Copyright © A. L. Bird 2016
A. L. Bird asserts the moral right to be identified as the author of this work.
A catalogue record for this book is available from the British Library.
This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.
E-book Edition © June 2016 ISBN: 9781474049566
Version date: 2018-09-20
A.L. BIRD
lives in London, where she divides her time between writing and working as a lawyer. The Good Mother is her major psychological thriller for HQ Digital, the fourth novel she’s written for the imprint. She has an MA in Creative Writing from Birkbeck, University of London, and is also an alumna of the Faber Academy ‘Writing a Novel’ course, which she studied under Richard Skinner. Amy is a member of the Crime Writers’Association. For updates on her writing follow her on Twitter, @ALBirdWriter
I am grateful to everyone who has given me the time, support and encouragement to write this novel. My wonderful editor Clio Cornish, who knows what I’m trying to write even before I’ve written it; my super-savvy agent Amanda Preston of LBA for her off-the-cuff creative brilliance and industry insight; my loyal family for the hours of childcare that enabled me to be closeted away in this new world; to Dr Abigail Crutchlow for her advice on characters (any straying from psychological truth is due to my artistic licence, not your input) and of course my readers, for coming back for more. Thank you.
And to my little one – welcome. May I be the best mother to you, always.
Contents
Cover (#u64ad3082-5b89-5a33-9125-b6c5838ad4ad)
Blurb (#u28a57408-3fe5-5b44-b3cb-a150993be522)
Title Page (#uea1ca237-a5e7-5436-a8a3-c9ea7820494f)
Copyright (#u03a88ec7-26fe-5cf9-9a39-dc724e63891c)
Author Bio (#u7a7a2862-d076-59d0-94f5-b599088815c9)
Acknowledgement (#u3705efad-af31-5ed4-9cae-1b89315a14c9)
Dedication (#u1c78e4ad-e279-543a-b833-772ea6264d30)
Prologue (#ulink_89a99db6-0360-56c6-a5f1-1e1c2eb047a3)
Chapter 1 (#ulink_b19bec36-dd76-5024-a068-55b7ed3fb099)
Chapter 2 (#ulink_882a8558-be54-50c3-b051-4c4dacb12d0d)
Chapter 3 (#ulink_32a558e2-389a-5bf1-bc98-4a45033ec25e)
Chapter 4 (#ulink_c57b1fb7-c50b-5267-938c-3ba03c46fd86)
Chapter 5 (#ulink_fe388479-f232-56e5-9ea8-812655983fab)
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20
Chapter 21
Chapter 22
Chapter 23
Chapter 24
Chapter 25
Chapter 26
Chapter 27
Chapter 28
Chapter 29
Chapter 30
Chapter 31
Chapter 32
Chapter 33
Chapter 34
Chapter 35
Chapter 36
Chapter 37
Chapter 38
Chapter 39
Chapter 40
Chapter 41
Chapter 42
Chapter 43
Chapter 44
Chapter 45
Chapter 46
Chapter 47
Chapter 48
Chapter 49
Chapter 50
Chapter 51
Chapter 52
Chapter 53
Chapter 54
Chapter 55
Chapter 56
Chapter 57
Chapter 58
Chapter 59
Chapter 60
Chapter 61
Chapter 62
Chapter 63
Chapter 64
Chapter 65
Chapter 66
Chapter 67
Chapter 68
Chapter 69
Endpages (#u8d9e0a47-3b0f-593e-ad35-696d03f8b8ac)
About the Publisher (#u78cbe274-90ff-54b7-856f-217988c930e8)
Prologue (#ulink_6e9ae0a0-857f-5c05-a8eb-81e79222d581)
The girl gets into the car that’s waiting for her. She looks over her shoulder first, like he’s told her to, to check Mummy isn’t watching. Would Mummy really mind? She can’t be sure. But he seems to think so. And he knows best, right? So she does the covert glance then slings her school bag into the back seat, like all the other times. He holds his cheek towards her for a kiss, which she dutifully bestows. Then he starts the engine with a vroom. Familiar buildings pass by. Buses on their way to places she recognises: Muswell Hill Broadway; Barnet (The Spires); North Finchley. There are a couple of kids from school. She raises her hand to wave but the man, seeing her, says, ‘Best not.’ So she lowers her hand and plays with the hem of her skirt, gazing absently out of the window.
Gradually, the territory becomes less familiar. The other man, the man they are going to meet, always insists on meeting outside of her home area. Says it’s safer that way. She hopes he’ll buy her a hot chocolate again. That was nice. Lots of whipped cream. Mummy always says whipped cream is bad: ‘You’ll end up big-boned. No one wants to be big-boned.’ The girl commented that the women at Mummy’s cupcake studio don’t seem big-boned. And they have lots of cream. ‘That’s because they spend a lot of time in the bathroom after each session,’ Mummy explained. That didn’t make much sense. But still, after the last visit, she hung round in the bathroom for a good ten minutes, so that the cream didn’t invade her bones and make them puff up.
And if there is hot chocolate, the girl thinks, it will be something to keep me busy. Because there’s not a lot of talking on these trips, so far. The other man doesn’t seem to know what to say. He looks at her a lot. Taking her in, from top to toe. She can feel his gaze travel down then up, up then down. Sometimes he gives a little smile. Other times a frown. She wants to please him, of course. She wants to please everyone. But when she tells him about the usual stuff – school, Mummy, music, boys even – he doesn’t say much back. And the two men glare at each other whenever they’re not looking at her. She can’t figure out why they keep hanging around together. Or what they want her to do on these occasions. So perhaps better just to concentrate on pushing the little wooden stirrer stick up and down in the hot chocolate to make holes, revealing the hot chocolate below. You have to get it to just the right meltiness to drink it. Then it’s delicious. She licks her lips in anticipation. Last time, the other man, the man they’re going to visit, looked like he was anticipating hot chocolate the whole time. Kept licking his lips. If he wanted some of her drink, he should just have said.
This might be the last time at this place, though. Because the previous time the other man, the man they’re going to see, had suggested they meet at his home. More relaxing. They could learn more about each other. He’d even given directions.
‘I just want us to be close, Cara,’ he’d said. ‘You’ll be quite safe. You’ll have your chaperone there throughout.’ He said ‘chaperone’ in a funny way. Like he was making a joke. Perhaps he only used that word because he didn’t know what to call the man who brought her. She didn’t, either, not really. Not once they’d had the little chat that evening in the car, his hand on her knee. Everything changed after that. She couldn’t be herself around him, couldn’t think of anything to say to him at all, never mind his name. She’d settled into the pattern after a while. But it was still odd. Of course it was odd. She would have asked Mummy. If Mummy were allowed to know.
Anyway, whatever he was called, the chaperon didn’t seem to like the idea of going to the other man’s home. So here they were, driving fast to the usual café. A bit faster than usual, maybe? Were they late? She looks at her watch, then realises she doesn’t know what time they’re meant to be there. And she doesn’t really know where ‘there’ is.
So there is nothing to do but sink into the seat. It’s out of her hands. But she’s perfectly safe. Of course she is. It would be like all the other times. See the men. Then go home to Mummy. She looks across at the chaperone to smile, to show him she still trusts him after everything. But he doesn’t smile back. He looks ahead and he frowns.
Chapter 1 (#ulink_d422c98a-f5e6-582b-93d8-a4ff86c63051)
My eyes flash open.
There’s a bed, a room and a blankness.
I leap off the bed, a strange bed, a single bed, and collapse straight onto the floor.
Where am I? What’s going on? Why am I so weak?
I put my hands over my eyes. Remove my hands again. But nothing becomes right. I’ve still no idea where I am. Why am I in this alien room? In pyjamas? Is it day, is it night, how long have I been here?
And, oh God.
Where’s Cara? Where’s my daughter?
Look round the room again. It looms and distorts weirdly before me. I don’t trust my eyes.
I try to pull myself to my feet but black spots and nausea get in the way.
OK, Susan. Stop trembling. Try to remember.
A hallway. At home. The doorbell ringing. Delivery expected. Chain not on.
Going to answer the door.
Yes, that’s it. A door. I see a door now, in this room. Maybe Cara is on the other side?
Crawl over the floor. One hand in front of the other. Grunt with the effort. Feel like I’m Cara when she was learning. Past a tray of partially eaten food. White fish. The smell makes me want to vomit.
Approach the door, in this room. Lean my hands against it, inch them higher and higher, climbing with my hands. Finally at the handle. Pull and pull. Handle up, handle down. Please! Open!
Nothing. It stays firmly shut.
In my mind, in my memories, the front door of my house opens. I’ve answered the door. Then blackness, blankness. Nothing but: Cara, my Cara, I must see Cara!
I’m shouting it now, out loud. Screaming it. Black dots back again before my eyes.
Come on. Comprehend. Don’t panic.
Slide down from the door. Look around the room. It’s clean, too clean, apart from the half-eaten fish. White walls. A pine chest of drawers. Potpourri on a dresser. Beige carpets. All normal. My hands ball in and out of fists. It is not normal to me.
And you are not here.
But why, Susan, why would she be here? Was she even at home when that doorbell rang? She’s fifteen, why would she be there, at home, with Mum? She might be safe, somewhere else, happy, even now.
I shake my head. Wrong. It feels wrong. I need to know where you are. Something is telling me, the deep-rooted maternal instinct, that you’re not safe. I need to see you.
Footsteps! From the other side of the door.
A key in the lock. I watch the handle turn. Slowly, the door pushes open.
Him.
How could I have forgotten about him?
We face each other, him standing, me on the floor. Bile rises in my throat.
So.
This is the now-known stranger who has locked me in here. Wherever ‘here’ is. It’s been what – two … three days? He must have drugged the fish. That’s why it took me a while, for any recollection to return.
He’s holding a beaker of water.
‘Thought you might like something to drink, Susan.’
He knows my name. A researched, not random, snatching then. Watching, from afar? For how long?
I stare at him.
‘Where is she?’ I manage. Not my usual voice. My throat is dry. The words are cracked, splitting each syllable in two.
‘You mustn’t hate me, Susan,’ he says.
I wait for more. Some explanation. Nothing.
Could I jump him? Could I run past him, out of the door? I must try, mustn’t I? Even if there is no ‘past him’. He fills the whole doorway.
Stop thinking. Act! Forget the shaking legs. Go, go, go! Storm him, surprise him!
But he is too quick. He slips out. The door closes. The lock turns.
‘They’ll come looking!’ I shout, slamming my hands against the door.
Because they will, won’t they? Paul, even now, must be working with the police, following up trails, looking at traffic cameras, talking to witnesses. Find my wife, he’ll be shouting to anyone who’ll listen. Neighbours, dog-walkers, Mrs Smith from number thirty-nine with that blessed curtain twitching. My afternoon clients, they must have raised the alarm, when I wasn’t there. Right? I must be a missing person by now. Please, whoever has lost me, come and find me.
And, please, let Cara be with you. Let my daughter be safe.
Images of Cara frightened, hunched, bound, dying.
No!
Just focus. Look at the room. How to get out of the room.
Look, a window! High up, narrow, darkness beyond it, but possible maybe?
There’s a kind of ledge. I can pull myself up. Hands over the edge, like that, then come on – jump up, then hang on. Manage to stay there for a moment, before my weak arms fail me. Long enough to judge the window isn’t glass. It’s PCV. Unsmashable. And, of course, there is a window lock. And no key. Locked, I bet, but if I just stretch a hand – but no. I fall.
OK, so I need to put something under the window. That chair. Heavy. I push and pull it to under the window. Placing my hands on the back of the chair, I climb up onto the seat. With my new height, I stretch my arm to the window, then to the window latch.
Locked.
Still. A window is a window. People can see in, as well as out. When it’s day again, I can wave, mouth a distress signal.
So do I sit and wait in the dark until morning? Until I can see the light again?
Or does this man, this man out there, have night-time plans for me? Because you don’t just kidnap a woman and leave her in a room. You want to look at her, presumably, your toy, your little caged bird. Maybe he’s looking at me even now. A camera, somewhere? I draw my legs up close to me and hug them. I stare at the ceiling, every corner. No. No. No. No. I can’t see one.
Which means he must have another agenda.
I shudder.
Think of Cara. Be strong. What’s your best memory of Cara? Proudest mummy moment?
Apart from every morning when I see that beautiful face. I will have that moment again. I will. Just as I’ve had that moment every day since I first held you.
Little baby girl wrapped in a blanket. So precious. Be safe, be warm, always.
But apart from that.
The concert!
Yes, the concert.
All the mums and dads and siblings and assorted hangers-on filing into the school hall. The stage set up ready, music stands, empty chairs. Hustle, bustle, glasses of wine. Me chatting to Alice’s mum – Paul working late – about nothing and everything. Then, the gradual hush of anticipation spreads round the room. The lights dim. On comes the orchestra! And there’s Cara. Her beautiful blonde hair hanging loose, masking her face. She’ll tuck it behind her ear in a minute, I think. And she does. Then the whole audience can see that lovely rose tint to her cheeks, the lips so perfectly cherub-bowed to play the flute that she holds. I want to stand up and say, ‘that’s my daughter!’ Instead I just nudge Alice’s mum and we have a grin. Then there’s the customary fuss and flap as the kids take their seats. All trying to look professional, but someone drops their music, and someone else plucks a stray string of a violin. Not Cara, though. She is sitting straight, flicking stray glances out to the crowd, holding the flute tight on her lap. Come on, Cara, I say to her in my head. Just do it like you’ve practised. All those nights at home, performing to me sometimes so that you have an ‘audience’. You’ll be fine.
And she is fine. When the orchestra starts to play, it’s like she has a solo. You can see the musicianship. All nervousness gone. Head bobbing and darting, fingers flying, like a true flautist. No pretention. Just perfection. Then her actual solo. The flute shining out, beautiful, clear. Wonderful phrasing, beautiful passion. Then she’s frowning slightly – was that a wrong note? Just keep on, keep on, no one will notice. And she does, she keeps going, right to the end.
But what makes me proudest, happiest, is, when her solo is over, she has this magnificent pinky-red flush over the whole of her face, and she gives this quick smile of sheer joy at her accomplishment, a brief look into the audience, before she bows her head and gets back to playing with the rest of the orchestra. Oh, my beautiful bold-shy Cara. How I adore you!
And then.
The memory is spent.
I’m just here again.
In silence.
Waiting.
Alone.
Hoping, praying, that my daughter is safe.
Chapter 2 (#ulink_2b36c435-37da-5504-89ca-9235ef19ce9d)
The headmistress of Cara’s school is occupied with a small handful of girls she has brought together in her study. They’re sitting on chairs in a semicircle surrounding her desk, sipping the tea that she’s given them. Patterned china cups usually reserved for the governors are balanced precariously on saucers. The girls are too busy to worry if they are spilling their tea. Their attention is focused on the man next to the headmistress. He’s a rarity in a school that only has two male teachers. And neither of them have beards. Or wear leather jackets and open-necked shirts. It’s clean-shaven and smart suits or the door for Mrs Cavendish’s staff.
‘Who do you think he is?’ whispers one girl, skinny, ginger, to her companion, slightly rounder, brunette.
Her companion shrugs. ‘New teacher? A friend for Mr Adams and Mr Wilson?’
The skinny ginger girl shakes her head. ‘I don’t think so. I think it’s about Cara.’
‘Everything’s about Cara,’ whispers back the brunette, rolling her eyes.
And it is true. The police cordons. The letters home to parents. The visit from a special psychiatrist. The thoughts, the prayers they have been asked to give her and her family in her conspicuous absence. The anxiety they have shared.
The headmistress clears her throat.
‘Girls, thank you for coming,’ she says, as though there is a choice to disobey the headmistress’s edict. ‘As you will have guessed, this is about Cara.’
The brunette shoots a ‘see what I mean?’ glance at her ginger friend.
‘I’ve asked you bunch here in particular because of your friendship with Cara. I know you must be very upset right now. You’re doing really well. I’m proud of you.’
There’s a sniff from a blonde girl at the outer reaches of the semicircle. The headmistress advances to her and puts a hand on her shoulder.
‘I don’t want to upset you by going through the details again. We’ve all heard what the police had to say, and of course it’s been all over the news. But we’ve been asked to help a little more.’
The headmistress resumes her seat at the head of the semicircle.
‘I’d like to introduce you to Mr Belvoir, a private investigator,’ she tells the girls. ‘He wants—well, Mr Belvoir, why don’t you explain?’
‘Thank you,’ the man says. He stands up. Then, perhaps realising he towers over the girls, he sits down again.
‘Sometimes, when the police are looking at these things, their approach can be … limited. Now, I’m not doing them down, it’s a bit delicate, but … well, I explained to your headmistress that I’ve got a private instruction to look at what’s happened. Cara’s family, you know. Got to ask my own questions. Make discreet enquiries, with close friends. I hope that’s OK with you?’
Five heads bob in the room. The ginger head doesn’t bob.
‘Alice?’ prompts the headmistress.
After a moment, Alice, the ginger girl, nods her head.
But she excuses herself almost immediately. He must ask his questions later, she says. She has English homework to do, she says. But, as she runs from the room, ignoring the headmistress’s calls that the homework can wait, it’s not thoughts of poetry composition that are spurring her on. It’s the thought – or maybe the question – about secrets. Namely this: if your friend – your best friend, who’s been your best friend since day one of reception – tells you something and makes you swear in confidence never ever to tell anyone, do you tell a man who is investigating something bad that’s happened to that friend? When that man, after all, isn’t even the police? And if it isn’t even directly relevant? Or is it? Cara told her a secret and then—Oh Cara.
So Alice doesn’t know what she should do. Cara would know what to do. She would just decide and have done with it. Impulsive and bold, that’s Cara. Perhaps that’s the problem. But Cara isn’t here. Another problem. So, for once, Alice has to make up her own mind. The school hasn’t prepared her for this sort of dilemma. Why don’t they teach anything useful once in a while? Everyone knows it’s friendships that count. Not books and sums and facts.
But she’s stuck with those. And she’ll just have to use them. And so she runs to the library, where she hides behind her textbooks. And until she has decided, she will avoid this Mr Belvoir. Even though she knows what she knows.
Chapter 3 (#ulink_e7689e75-d101-5b55-b72c-509da6bc3e96)
Biting my nails. Putting my head in my hands. Walking about. Sitting down.
I can’t do this.
I jump to my feet.
I shout. ‘Let me out! Let me out! Let me out!’
Why am I here? Why aren’t you at least in the room with me? He can’t be scared of a woman and a girl uniting, can he? Not with all that muscle.
Do I just fuck him and hope for the best? That he’ll let me out without killing me, and we can all be a happy family again?
Or am I meant to just stay in here and finish that piece of fish? Is he fattening me up? Does he have a fat fetish? Did he think that the proprietor of a cupcake store and studio would be all doughy? That she wouldn’t be a salad-eating Pilates junky who would have to close the store if she put on a pound? Because the yummy mummies of leafy North London don’t want to associate cupcakes with saturated fats and weight gain, do they? That’s not the lifestyle. No. Perhaps they’re bulimic. I don’t care. That’s not my lookout. It’s important to watch what you eat. Of course. But not for their reasons. So, when I see them running round Alexandra Park, I nod and smile and remind them of the ‘how to do deluxe frosting’ session but I don’t follow them when they go to the bathroom.
Which is a good point. Bathroom.
I bang the door of my room from the inside. I have a question. Or at least, a ruse to bring that bastard in here.
I keep banging until I hear footsteps along the corridor.
‘Yes?’ says the Captor from outside.
‘What if I need to pee?’ I ask.
There’s a silence.
‘Do you?’ he says.
I don’t, but I want to know what happens if I do. If it gives me a way out. Some hope of escape. Or at least seeing if Cara is out there.
‘Really badly,’ I say.
There’s a pause, then a key in the lock. I expect to be handed a bucket when the door opens.
But no. He is empty-handed.
‘Turn round,’ he says.
I do as he asks.
Once I’ve turned, he takes hold of both of my arms from behind, clamps them together with one of his paw-like hands. I feel like my wrists will snap if I struggle.
He twists me round and pulls me out of the room.
We’re in a short corridor. Look about, quickly. Nothing I recognise. It’s as blank and beige as the room. Like it’s been deliberately stripped. Or like he has no life at all, apart from ruining other people’s. We pass one closed door next to mine. My stomach jumps closer to my heart. Cara? Is Cara in there?
Baby in one room, mummy in the other. Let me see her, I need to see her!
‘Hello? Cara?’
He pulls me faster along the corridor. We stop in front of an open door. I see a toilet and bath and a shower enclosure in the corner. White tiling. Clean. Probably forensically bleached before and after each visit.
He pushes me into the room.
And follows me.
What have I done?
‘There we go, then,’ he says, nodding at the toilet. He releases me from the arm hold and nudges me towards the toilet. He stands at the door, arms folded, facing into the room. Like he has no intention of leaving.
‘Are you going to give me some privacy?’ I ask.
He shakes his head. Apologetically?
‘The door doesn’t have a lock,’ he says.
‘You’re going to stand here watching me?’
He doesn’t respond.
‘You could at least turn your back,’ I tell him. Then I could at least try to jump you, I think, even if it is with my trousers round my ankles.
He still doesn’t say anything. Just keeps looking at me.
So. I’ll have to carry on. But I’m not going to let him degrade me. I’m not going to let him see how vulnerable I feel as I pull down my pyjama shorts. I’m not going to let him know how my flesh creeps, how my insides clench and my legs tremble. I keep eye contact as I lower myself to the seat. I expect his gaze to drift downwards, to drink me in while I urinate. But he keeps his gaze level with my eyes. I make a show of squatting up fully to wipe myself. Still his gaze stays at my eyes. At first. And then he allows himself a quick flick down, towards my exposed parts. I pull up my shorts in a hurry.
I move to the sink to wash my hands. I struggle with the taps; my hands are shaking. The Captor helps me out.
‘Careful,’ he says. ‘The water is very hot.’
As he leans in, I catch sight of the two of us in the mirror over the sink. I almost gasp. I’m not who I remember myself to be. My eyes have purple patches under them – tiredness beyond black circles. Or maybe he has punched me? My skin is so pale it is almost translucent. My lips are dry and cracked. My hair, unbrushed, but in a ponytail, sticks up wildly. And if I thought he was twice the size of me, I was wrong. He looks at least four times the size of me. And about four times as human – pink skin (neatly stubbled), hair combed, lips moist.
Steam covers the mirror and the comparison is lost.
I notice my hands are burning and I pull them out from under the tap.
Then I present my wrists meekly to the Captor. He takes hold of them and escorts me back to my room.
When he leaves I’m sick on the floor.
I try not to think what will happen when I need to shower.
When Cara needs to shower. If she’s here.
All I want to do is hide in the bed in a foetal position. But I must be strong, for Cara. I must show him that it’s not enough to leave me locked in here. Like I’ve had my bit of outside and now I’m stuck.
So I take a big breath and unleash the banshee. I cry and I scream and I shout. Maybe we are in the middle of a housing estate. Maybe I’ll alert the neighbours.
The door opens before I even hear the key in the lock.
‘What’s wrong now?’ he asks.
What’s wrong? I want to shout back. What’s wrong? You’ve fucking kidnapped me, that’s what’s wrong. And done something, maybe, I don’t know, to my daughter. But I carry on with the wordless screaming. He moves towards me, closer and closer and closer, until—ow!
Stinging, on my cheek.
He’s slapped me.
So I scream again. Louder.
He slaps me again, harder.
It brings tears to my eyes.
And there’s a wet glittering in his.
‘I didn’t bring you here for this,’ he says. There’s a crack in his voice.
‘Then why did you bring me here?’ I hear my voice, high, wavering.
He shakes his head and moves back towards the door. I start screaming again.
He turns to me. This time his hand is in a fist. I flinch. He lowers his hand. But the warning is clear. No screaming. I lie down on the bed and face the wall. I can sense him standing there, watching me.
Eventually, I hear the door close. He’s gone.
I fling myself over on the bed so that I’m facing the door that he’s just exited.
Who is this man? I swear I hadn’t seen him before I was abducted. What does he want? Can’t he just tell me everything, like some kind of super villain confessing his evil plans? At least tell me he’s got his cock out every night at the thought of me but he’s just biding his time; tell me we had a chance encounter in a newsagent/ restaurant/ supermarket; tell me he has my daughter strapped inside a wheelie bin somewhere ready to be landfill unless I have sex with him. Just don’t leave me here, not knowing.
I need to know what’s happening. Why is no one telling me what’s happening to my baby?
I need Cara. I need Paul. I need a hug, some tea, some air, some knowledge, some hope. I just need. Give me something. Please.
Chapter 4 (#ulink_2615f9e4-c5f4-5b0f-bd49-ca972c51faba)
The other side of the door
I could just have let her scream. Of course I could. I’m prepared. Tough love, isn’t it called? I’ve experience of that. I’ve hardened myself for more. Had to. Grit your teeth, get on with it, think of the greater purpose. The purpose she’ll realise in due course. Once that natural obsession with her daughter has abated. Of course, she wants to know. And maybe I should tell her. But not now. Not yet. Little by little we’ll get there. Together. That’s the important bit. We’ll always be together. I’ve succeeded in that much. However difficult it might be, treating a woman like that when all you want to do is hug her and kiss her and … all the rest. The groundwork is done. We’re together. Now I just need to carry on. Day in, day out, as long as it takes.
Oh, she’s resisting. Of course she is. Wants to be in and out of that room like a jack-in-the-box. And it bothers me. Of course it bothers me. In an ideal world, she’d take one look at me, one morning, and she’d love me like I know she can. She’d thank me for the delicious fish supper. Thank me for the warm bedding. Thank me for taking care of her. But it’s not an ideal world. Don’t we know it. All of us, under this roof.
So until that happens, she’s got to stay there. Locked in that room. And sometimes I may need to use force. Judge me, you up there, if you want to. But just like you have your plans and work in mysterious ways, so do I. I didn’t like slapping her. Of course I didn’t. Yes, there was an element of me that liked the touch of her skin. So soft. English rose. Just like Cara. You want to caress skin like that, not hurt it. Needs must though. Even if she was more stunned than hurt. She’ll forgive me in the end. She has to.
Slapping her, stopping her screaming, was the right thing to do. Selfish, partly. We need to communicate. We need to have a dialogue, even if for now it’s full of hate from her. And I want to be able to hear her voice. Not just gaze at her from afar. If she’s hoarse, we can’t do that, can we? I’ve thought so much about her speaking to me nicely, silkily, calling me by name, that I don’t want to ruin my chances by making her croak.
And there’s the noise, of course. Screaming. I think we’re safe. But I’m not big on attracting attention. Not now.
Of course, if she won’t communicate as she should, however long she’s in there, I’ll need to come up with another plan. Perhaps I’ll need to force her to understand. Something with more impact. Pierce that little bubble she thinks she can hide in, away from me, for ever. But for now I have to continue with what I’ve started. A new phase of life for us all.
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A. Bird
Тип: электронная книга
Жанр: Триллеры
Язык: на английском языке
Издательство: HarperCollins
Дата публикации: 17.04.2024
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О книге: ‘Oh. My. Word. This is a one sitting read kind of book. The kind with a twist that will have you gasping out loud.’ – Katherine Sunderland, BibliomaniacThe greatest bond. The darkest betrayal.Susan wakes up alone in a room she doesn’t recognise, with no memory of how she got there. She only knows that she is trapped, and her daughter is missing.The relief that engulfs her when she hears her daughter’s voice through the wall is quickly replaced by fear.The person who has imprisoned her has her daughter, too.Devising a plan to keep her daughter safe, Susan begins to get closer to her unknown captor. And suddenly, she realises that she has met him before.The Good Mother is a dark and disturbing psychological thriller for fans of C L Taylor, Kathryn Croft and S K Tremayne.Read what people are saying about The Good Mother‘if you like psychological thrillers this one will keep you guessing till the end’ – Elaine Makri, Goodreads‘5*: gripping from beginning to end’ – Shirley Jones, Goodreads‘Nothing in this story is quite what it appears’ – Rosemary Smith, Goodreads‘From the start this was chilling and made my heart beat extra fast. A psychological thriller with lots of tension…Could not put it down! No spoilers but highly recommend it. 5*****’ – Laurel Cherkas, Goodreads‘Not much keeps me awake until 2am, but my goodness, this brilliant psychological thriller did just that!’ – Philippa McKenna, Goodreads‘I loved this book…I couldn′t read it fast enough.A real page turner’ – Aarti Shah, Goodreads‘So cleverly written that I had no inkling as to how the tale would unfold.’ – Melanie Hughes, Goodreads‘Lots of twists and turns and shocks along the way and the ending packs a real punch!’ ‘ Fiona McCormick, Goodreads